selected works

The WrittenSpoken series

WrittenSpoken is an on-going series that investigates the relationship between text, message and written narratives. In sourcing its material from printed media in the form of snippets of text. WrittenSpoken investigates how these texts can range from the nonsensical to an extremely partisan narrative. Realised while on residence at the Banff Center. In this iteration of the series, I was looking to further explore notions of difference in representation. In other words, how societies register, depict and write themselves and the rest of the world.

becomes, 2018, Watercolour on Paper, 14 x 21 cm.

rules-based, 2018, Watercolour on Paper, 14 x 21 cm.

legitimise, 2018, Watercolour on Paper, 14 x 21 cm.

1.2 trillion, 2018, Watercolour on Paper, 14 x 21 cm.

market, 2018, Watercolour on Paper, 29 x 42 cm.

consent, 2018, Watercolour on Paper, 29 x 42 cm.

parity, 2018, Watercolour on Paper, 29 x 42 cm.

sunset, 2018, Watercolour on Paper, 42 x 29 cm.

BIG FAT, 2018, Watercolour on Paper, 42 x 29 cm.

43+

In 2014 in the city of Iguala in the southern state of Guerrero in Mexico forty-three students from the the Raúl Isidro Burgos rural school went missing while in alleged police custody. After an exhaustive independent investigation only the remains of two of the students were found. What is more authorities have remained silent, and until now the case has not been fully clarified. Therefore giving no piece of mind to the students' families and the country at large.

43+ depicts on the left each of the forty-three students in a translucent and superimposed manner in order to visually emphasise their missing state, and the circumstances of their disappearance. On the right the names of the forty-one missing students are found in a vast static grey background. Only slightly visible are the names of the two whose remains were found. One has to look closer for the other names to appear one by one. In doing so the search for answers on regards to this tragic case is symbolised.

What is more the title of the piece alludes to the wave of violence which has hit Mexico in recent years, and the resulting high number of losses.

Jal

Four monkeys and a man share a riverbed in India. Jal is a reflection on the impact humans have on the environment and the collateral damage we imposed on it at the hand of unrestrained development. This piece was inspired by the Narmada Valley Dam Project and the controversy it has created among environmentalists and human rights groups. Given that the project has expanded over a 20 year period and has caused the displacement of more than 250 000 people not to mention a high toll on local flora and fauna.

Jal is a meditative piece on the dwellers of nature, the beneficiaries of the river and the role unsustainable growth plays in many of the world's environmental catastrophes. It asks for the viewer to ponder on the life cycle, the vitality that the river brings and how it is given to all. Larger ecosystems are represented by the monkeys while humanity is represented in a smaller scale. In order to illustrate our small yet most devastating part within these ecosystems.

Drifters

This series was inspired by the Alan Kurdi tragedy which brought light to the issue of migrants dying at sea. And the crisis Europe finds itself immersed in, which is estimated to be the largest since World War II.

Drifters, 2015, Ink on rice paper , 210 x 194 cm.

Drifters, 2015, Ink on rice paper , 70 x 97 cm.

Ibid.

Ibid.

Drifter (Alan Kurdi), 2015, Ink on rice paper , 70 x 97 cm.

Drifters, 2015, Ink on rice paper , 70 x 97 cm.

Gulabi Gang

In depicting the women of the Gulabi Gang this series explores the female condition in contemporary India. It questions the place and roles women have in society as a whole, and how many of these are not far from those dictated by gender. As well as acknowledging that there are many intervening factors to consider such as as steep patriarchy, respect, education, welfare and self-sufficiency.

In North India as a backdrop the Gulabi Gang emerged out of this situation of gender disparity. Founded by Sampat Pal Devi and managed in its entirety by women. They have enabled a forum in which women can make claims of injustice that are normally not heard anywhere else. These claims and demands are from both the domestic and public domains. What is shared between the two is the fact that a form of abuse is being vocalised and therefore denounced. The women hear the case and if deemed necessary intervene. These interventions take different forms either by sheltering a victim, teaching self-defence, talking to the accused and in extreme cases lathi-charging the perpetrator. The group has been the subject of several documentaries that want to give voice to their initiative, but they have also been glamorised and sexualised in a series of tv shows and bollywood movies. In many of these they are portrayed as a violent group of women out for revenge.

At the initiative of Curator Julia Libertad this project was part of 3 SENTENCES ON THE CURATORIAL at 24 Jor Bagh.

Gulabi Gang in process, 2014, Acrylic on Wall, Variable Dimensions. On view at 3 sentences on the curatorial, 24 Jor Bagh, New Delhi.

Ibid.

Ibid.

Ibid.

The State of Affairs

At the time when this series was realised the world seemed to be going through an unusual period of civil unrest from the streets of Turkey, Bangkok, Mexico, Ukraine and the US the perennial was discontent. The State of Affairs explores media generated imagery of these civil movements, and how at times these images can create a very biased us-them narrative. In reinterpreting these images in an analogue medium they are bestowed with new meaning opening up the opportunity for the viewer to create his/her own backdrop.

Untitled from The State of Affairs series, 2013, Watercolour on paper, 70 x 60 cm. The Block Museum of Art Collection.

Ibid.

Ibid.

Ibid.

Ibid.

Ibid.

Into Thin Air from the SOA series, 2014, Watercolour on paper, 150 x 200 cm.